scholarly journals Narrative Ethics of Post-Modern Visual Culture between Chinese “Diors Series” and Western “Loser Series” in Comparative Perspective

2019 ◽  
Vol 24 (1) ◽  
pp. 205-219
Author(s):  
Shaomin Zheng
Keyword(s):  
Visual Culture ◽  
Mass Culture ◽  
Focal Point ◽  
Visual Image ◽  
Narrative Ethics ◽  
Business Culture ◽  
Ethical Orientation ◽  
Ethical Values ◽  
Modern Culture ◽  
Modern Context

The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.

scholarly journals “THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE

2021 ◽  
Vol 17 (2) ◽  
pp. 61-87
Author(s):  
OLGA A. LAVRENOVA ◽  
Keyword(s):  
Visual Culture ◽  
Urban Space ◽  
Mass Culture ◽  
Homeless People ◽  
Point Of View ◽  
Urban Landscapes ◽  
Modern Culture ◽  
Cultural Phenomenon ◽  
Feature Films ◽  
Modern Mass

The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

scholarly journals “THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE

2021 ◽  
Vol 17 (2) ◽  
pp. 61-117
Author(s):  
OLGA A. LAVRENOVA ◽  
Keyword(s):  
Visual Culture ◽  
Urban Space ◽  
Mass Culture ◽  
Homeless People ◽  
Point Of View ◽  
Urban Landscapes ◽  
Modern Culture ◽  
Cultural Phenomenon ◽  
Feature Films ◽  
Modern Mass

The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

scholarly journals Влияние масс-медиа на сознание человека в пьесах Александра Марданя

2018 ◽  
pp. 153-164
Author(s):  
Maria Sibirnaya
Keyword(s):  
Mass Media ◽  
Mass Culture ◽  
Real Life ◽  
Point Of View ◽  
Contemporary Culture ◽  
Modern Culture ◽  
Factors Affecting ◽  
The Mass Media ◽  
Music Information ◽  
Modern Mass

Nowadays the influence comprehension of the mass media as one of the most significant factors affecting contemporary culture, acquires the special significance. All kinds of new information receiving by media channels obtain the stereotyped, frequently repeatedly cultural and axiological orientations, which become fixed in people's consciousness. Skillful manipulation of information makes the power of suggestion from mass media practically unlimited. Therefore, the public opinion is created by the mass media. Being so closely intertwined with the mass media, the modern mass culture is coming through all elements of people's lives. Moreover, it appears in the literary works, which reflect the influence of the mass media on the consciousness, mentality, point of view and decisions of the literature characters, using their set example in the literature. Odessian playwright Aleksander Mardan presents his characters in the context of the events, which entails new circumstances both due to the characters decisions and out of more extensive economic and political changes. One may notice the presence of mass media in the form of music, information broadcasts and press almost in all Mardan's play. One may track out the influence on the character’s consciousness and reveal the difference between the official version and what happened in the real life. Using the performance tool, there is the action in the play showing the influence of the stereotypes implicated by the mass media. The performance reveals not only the stereotypes affection influencing the mentality of the characters, but also the viewers whose interpretation of the play’s direction is not always critical enough. Therefore, the question about the relationship between the society and mass media, about the level of freedom in mass media from the society and concerning the influence exerted by mass media on the modern culture and the human's consciousness is repeatedly presented in Alexander Mardаn’s plays.

Introduction

Picture World ◽  
2020 ◽  
pp. 1-20
Author(s):  
Rachel Teukolsky
Keyword(s):  
Visual Culture ◽  
Cultural History ◽  
Mass Culture ◽  
Literary History ◽  
Media History ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Cross Media ◽  
Cultural Field ◽  
Words And Images

The introduction explores both Victorian and contemporary theories of visual culture, while developing the book’s own interdisciplinary methodology. Visual culture studies, media history, art history, literary history, and cultural history number among the book’s disciplines. The chapters move across media to study novels and poems alongside photographs and illustrations. Weaving together both visual and textual strands, the book presents a revisionist, multidisciplinary approach to “culture” as it was lived and experienced in the nineteenth century. Academic divides between the disciplines today have obscured the cross-media connections studied in the book. The book’s approach captures the historical reality of the nineteenth century’s turbulent media moment, when the bounds of high art and mass culture were not yet fixed, and words and images mingled indiscriminately in the cultural field.

Methods of Art Design in the Design of the External Image of a Person

2020 ◽  
Vol 9 (4) ◽  
pp. 68-75
Author(s):  
Irina Svetlichnaya
Keyword(s):  
Information Exchange ◽  
Social Groups ◽  
Visual Image ◽  
Communicative Practices ◽  
Modern Culture ◽  
Communication Goals ◽  
Communication Practices ◽  
Art Design ◽  
Image Models ◽  
Art Activities

The article focuses on the inclusion of the external image of a person in communication practices. The authors study variants of art activities aimed at adapting the existing external image of a person to various socio-cultural situations. Communicative practices of using art design in shaping the external image of a person are positioned as" flexible " image models recommended for communication in different communities. The external image of a person is considered as a means that provides instant information exchange between communicants of various social groups. The visual components of the external image of a person that affect the translation of socio-cultural information, such as clothing and hairstyle, are indicated. The methods of art design in modern culture are defined as creative, contributing to the formation of a visual image that participates in the unification of social groups. It is established that the methods of art design, in the context of designing the external image of a person, affect the purposeful formation and adaptation of an image that translates belonging to a social group. Based on the results of the research, recommendations are presented for the choice of art design methods in the process of designing the external image of a person, taking into account the communication goals of representatives of different social groups.

scholarly journals Formation of Visual Culture in Teenagers by Teaching Them Photographic Art

2019 ◽  
Vol 9 (1) ◽  
pp. 5130-5133
Keyword(s):  
Visual Culture ◽  
Educational Practice ◽  
Educational Process ◽  
Low Grade ◽  
Creative Development ◽  
Modern Culture ◽  
Effective Components ◽  
Component Content ◽  
Definition Of ◽  
Positive Results

Currently, the vector of modern culture is shifted from verbal to the visual aspect. Visually represented and superficial information often disguises phenomena that require special analysis to identify them. Today, the younger generation, namely adolescents, is the most prone to massive informational “visual attack”. Realizing that immersion in a low-grade visual environment is not harmless for a young, not yet fully formed the personality of a teenager; the formation of their visual culture is a pedagogical problem. As a result of the study, the authors clarified the definition of “visual culture of personality”, revealed its structural composition, determined the component content and substantiated its significance in the creative development of a teenager. Based on the methodological foundations of personal-pragmatist, culturological, and pragmatist approaches, as well as the integrated application of theoretical and empirical methods, the researchers identified the possibilities of photographic art which acts as a pedagogical means of solving the problem. In order to realize the pedagogical potential of photographic art in educational practice, the authors developed a pedagogical model for the formation of visual culture as part of the target, methodological, substantive-procedural and diagnostic-effective components. The introduction of the authoring in the educational process has allowed us to obtain positive results.

scholarly journals Impressions for sale: modern trends in сonsumer culture

2021 ◽  
Vol 1 (118) ◽  
pp. 162-169
Author(s):  
Ekaterina N. Shapinskaya ◽  
Keyword(s):  
Cultural Production ◽  
Mass Culture ◽  
Cultural Practices ◽  
Marketing Strategies ◽  
Modern Culture ◽  
Goods And Services ◽  
Event Marketing ◽  
Critical Theories ◽  
Training Courses

The article discusses the dynamics of modern сonsumer culture, in which the emphasis shifts from goods and services to the impression. In this regard, the concepts of event marketing and impression marketing, widely used both in modern literature and in training courses, are understood. The analysis of modern cultural practices shows that they are designed according to the market laws and use marketing strategies applied to the material sphere, as a result of which «pseudo-events» come to the fore. Particular attention is given to the strategies of modern cultural institutions that create events to attract new visitors, as well as the role of social networks in drawing the attention of the general public to cultural events. In this regard, theories developed by cultural researchers are considered, critically analyzing the general trend of modern culture towards commercialization, spectacularity and entertainment. The importance of the concept of the cultural industry developed by the theorists of the Frankfurt School, as well as the works of J. Baudrillard and G Debord, revealing the essence of the simulative nature of сonsumer culture is emphasized. A number of conclusions is drawn regarding modern trends in сonsumer culture, which includes cultural production, as well as the inability of modern humanitarian discourse to conceptualize these phenomena using existing methods and approaches. This is confirmed by the fact that the critical theories of mass culture and сonsumer culture developed in the last century have not been continued in modern cultural thought, while the work of marketers is gaining increasing popularity and recognition. In these conditions, sociohumanitary knowledge needs to develop a new tool for analyzing dynamic processes in modern culture.

IMPACT OF SOCIO-ECONOMIC PROCESSES ON THE DEVELOPMENT OF RAINIS PARK IN LIEPAJA UNTIL WORLD WAR II

2019 ◽  
Vol 4 ◽  
pp. 464
Author(s):  
Silvija Ozola
Keyword(s):  
World War Ii ◽  
Mass Culture ◽  
Urban Landscape ◽  
Visual Image ◽  
Research Problem ◽  
Living Environment ◽  
City Development ◽  
Functional Changes ◽  
Urban Structures ◽  
The Republic

In the 19th century, a special attention was devoted to arrangement of Libava urban environment. Public gardens were created. At the beginning of mass culture, a new urban landscape conception got into focus of artistic attention. In the Republic of Latvia, physically and mentally competent living environment for a person developed. Green urban structures were improved. Public activities in Rainis Park were expanded. The object of the research – Rainis Park's functional and visual changes in Liepaja. Research problem – Rainis Park's architectural spatial and functional changes caused by sociopolitical processes have not been sufficiently studied. Research novelty – Rainis Park's spatial and functional structure is analyzed in the context of city development. The goal of the research – to determine the most typical changes in Rainis Park's historical plan and visual image. Main methods applied – this study is based on analysis of archive documents, projects and cartographic materials of urban planning, as well as study of published literature and inspection of buildings in nature. 

DENDISM AS A TRANSCULTURAL PHENOMENON

2020 ◽  
pp. 28-33
Author(s):  
O.M. Krizhovetskaya ◽  
Keyword(s):  
Mass Culture ◽  
Reading Public ◽  
Social Models ◽  
Cultural System ◽  
Modern Culture ◽  
Complex Culture

The phenomenon of dandyism is considered as the open cultural system, the ultra-disciplinary integrity, and the borderline creativity. Dandyism combines possibilities that are not realized in existing cultures. Some perspectives of «dandy discourse» in modern culture are outlined. The article raises the problem of productivity of this unique phenomenon in a retrospective context. It concerns such a complex culture object as fiction, in particular, its component targeted at the tastes of mass reading public and those social models of behavior that are implanted today by mass culture.

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